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Sunday, June 9, 2013

The Sun Ra Discography Part One

I have been using the following Sun Ra Discography for my research and buying guide. It was hosted at the Internet Archives but keeps disappearing so here is the first part here for your information. I believe it was compiled by Campbell & Trent.The rest to follow soon.

Don't Blame Me (McHugh-Fields)
'SWonderful (Gershwin)
Lover Come Back to Me (Romberg-Hammerstein)
Ra-p; Victor Sproles-b; Robert Barry-d; Tito-cga; Hattie Randolph-voc. Budland, Chicago, late 1956 or early 1957.
Art Hoyle was in the band from Christmas 1955 through December 1956; Tito identified by Lucious Randolph, who says he was "very African looking" and worked with Ra for a year or so; Randolph says the tracks with his sister Hattie were made after he joined the Arkestra. She confirms that Art Hoyle was out of the band by then, and thinks these were recorded at the old Budland in the basement of the Pershing Hotel.

Same sonorities as Interplanetary Music on We Travel the Spaceways, but without the vocal. Same organ, too; I'm not sure what it is, but it definitely ain't a Hammond. Gilmore says it's Phil Cohran on zither; Cohran says it was also called a violin/uke because you could bow it and pluck it, and that he bought it on 1/22/60. Cohran's "space harp" was an African thumb piano he built (not used on any of the Saturns). Sound is not good enough for it to be a studio recording.

If Ra is playing on this, he's contributing in the percussion department. Saturn attributes this piece to Ra; Gilmore says it was written by Boykins. Cohran says it was recorded at Hall Recording Co. late in 1960.

Hoyle says that this was the old RCA Studios near Navy Pier. Victor Sproles is credited by Impulse, but he's not on Side B and is an unlikely candidate for Side A (where there's a lot of arco bass and/or composition credits for Boykins).

Recorded RCA Studios, Chicago, 1956. Items with Patrick on alto and Charles Davis on bari are close to the personnel of Sound of Joy and probably come from later in 1956. This was the first album to be issued by Saturn. Alton Abraham says that this and other early Saturn albums were initially issued without covers. Some may have been hand decorated. The first Saturn cover was made for this album; it was silk-screened without printing. There are two later covers: pink-purple Bauhaus with keyboard and a blue or green view of the Void with solar symbols etc. (this last was in circulation by 1967 and remained the cover of choice thereafter). As Chase points out, was reviewed by Don Gold in Down Beat in 1957. [rlc]
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6. Sun Ra and the Arkestra
Sound of Joy
Delmark DS-414 (1968)
Side A: El Is a Sound of Joy (Ra) (3:50)
Overtones of China (Ra) (3:22)
Two Tones (Patrick-Davis) (3:34)
Paradise (Ra) (4:26)
Planet Earth (Ra) (4:30)
Side B:
Ankh (Ra) (6:30)
Saturn (Ra) (3:52)
Reflections in Blue (Ra) (5:53)
El Viktor (Ra) (2:26)
Ra-p, Wurlitzer electric piano; Art Hoyle-tp; Dave Young-tp; prob. Julian Priester-tb; (on El Is a Sound of Joy and Overtones of China); Pat Patrick-as, bs; John Gilmore-ts; Charles Davis-bs; Victor Sproles-b; William Cochran-d; Jim Herndon-tympani, timbales. Studio recording, Chicago, late 1956.

Intended for release on Transition but never issued. Some items first appeared on Visit Planet Earth (1966). Two cuts featuring vocalist Clyde Williams were not released by Delmark but may appear on the CD version. [Chase]

Date and exact personnel are vexatious: Buzelin says 11/1/57; Art Hoyle says he was with Ra from late 12/55 to somewhere between 12/56 and 3/57. Delmark says that John Avant is present on trombone; Art Hoyle told Litweiler that he didn't know Avant at the time; Chase points out that there is a trombone on two cuts; Litweiler suggests Julian Priester; other personnel from Delmark jacket. Hoyle recalls recording for Transition in a studio on the West Side of Chicago, not at Universal as is usually claimed.

Nate Pryor was supposed to be on this session but arrived too late. He believes that Bo Bailey or Eddie King was used instead. The studio was located off the Outer Drive, somewhere near Grand Avenue. Bill Fielder says Bo Bailey was on this session.

[Personnel from album jacket, except that Julian Priester is listed as the trombonist]

Sides A and B are as listed as on Evidence release, on Impulse, and probably on later Saturn releases. The master tape goes in this same order. However, the oldest copies of Saturn 5786, with the 50s red on gold Saturn label -- note also the RCA Chicago mastering numbers -- have Side A beginning with Hours After through Blues at Midnight. [Trent] Impulse faded out before the theme statement at the end of Blues at Midnight. [Webber]

Originally issued in a comic-book sci-fi cover with half-naked ladies teleporting themselves; this is shown in the 1967 Saturn catalog.

According to Bill Fielder, Everett (E.J.) Turner was the sole composer and arranger of Hours After, which was originally titled Stinkin'. Turner confirms this and says he had no idea that the tune had been released till many years later. Turner joined the band after Alvin Fielder (probably mid 1958). The sessions are probably from the later half of the year.

Special credit to Allan Chase for recognizing how the odd cuica-like sounds were made on Ancient Aeithopia -- it's Allen or Spaulding on alto sax mouthpiece and Dotson on trumpet mouthpiece!
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8. Sun Ra and his Astro Infinity Arkestra
Sound Sun Pleasure!!
Saturn SR 512 (1970)
Evidence 22014 (CD, 1992)
Side A:
'Round Midnight (Hanighen-Monk-Williams)
You Never Told Me That You Care (Hobart Dotson)
Hour of Parting (Schiffer-Spoliansky)
Side B:
Back In Your Own Backyard (Jolson-Rose-Dreyer)
Enlightenment (taken from Jazz in Silhouette) (Ra)
I Could Have Danced All Night (Lerner-Loewe)
Ra-p, celeste; Hobart Dotson-tp; James Spaulding-as; Marshall Allen-as, fl; John Gilmore-ts; Pat Patrick-bs, as, fl; Charles Davis-bs; Ronnie Boykins-b; William Cochran (or Robert Barry)-d; Hattie Randolph-voc (on 'Round Midnight and Back in Your Own Backyard). Recorded by Alton Abraham, Chicago, 1958.

Also seems to be a studio recording. Not the same session as Jazz in Silhouette, according to Hattie Randolph.

Personnel lists on the original Saturn release and in previous discographies amount to 15 pieces and include late 60s performers. Current list from rlc in consultation with Stahl, except for the drummer. Stahl and I went with Robert Barry, because Saturn mentioned him and he could have been there. My more recent comparative listening favors William Cochran. (However, Hattie Randolph remembers Barry being on the date!) Thanks to Michael Fitzgerald for pointing out that Enlightenment is not a different take or a new version. Date from Geerken. Lucious Randolph says that You Never Told Me That You Care was written and arranged by Hobart Dotson and was never part of Ra's book.
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9. Sun Ra and his Solar Arkestra
Visits Planet Earth
Saturn LP 9956-11-A/B (1966)
Saturn LP 207
Evidence 22039 (CD, 1992)

[Personnel and solo credits from album jacket, sorted out by rlc; date from Vein, corroborated by Lucious Randolph. Spaulding seems to have joined the band in mid-1957. Randolph says that the Arkestra frequently played Planet Earth and confirms his presence on this version; not sure about Eve and Overtones of China, where the trumpet doesn't solo]

Side B:
Viktor (Ra)
Saturn (Ra)
Side B was lifted from Sound of Joy (still unreleased at this time)! Raben suspected this duplication but couldn't verify it. The sides are switched on the Evidence release. [rlc]

The original issue of this LP was a red-label Saturn with a 1966 copyright date. Corbett has a green-label Saturn issue (with a Minneapolis address on the label!); that must come from the late 1960s.
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10. Sun Ra and his Myth Science Arkestra
We Travel the Spaceways
Saturn HK 5445 (mid 60s)
Saturn ESR 5445
Saturn LP 409
Evidence 22038 (CD, 1992)
Side A:
Interplanetary Music (Ra) (2:40)
Ra-cosmic tone org; Phil Cohran-zither (violin/uke); John Gilmore-cosmic bells; Ronnie Boykins-b; prob. Marshall Allen-perc. Ensemble voc. It's not clear who the drummer is, but it could be William Cochran. Some club after hours, Chicago, 1960.

Lucious Randolph never worked with Strickland, but Strickland went to Montreal with the band in 1961. Phil Cohran worked with Strickland though not in the Arkestra; so did Bill Fielder. If Patrick is on bs, the recording was not made when Cohran was in the band in 1960.

We Travel the Spaceways (Ra) (3:21)
Ra-p; George Hudson-tp, perc; Marshall Allen-as, bells, flying saucer; John Gilmore-ts, perc; Ronnie Boykins-b; Jon Hardy-d; various band members-perc, including cowbell and toy robot. All sing. Chicago, late 1960 or early 1961.

[Plonsey suggested that a toy quacking duck cart was being pulled around at the end of this piece. Gilmore told Corbett that the Arkestra had toy robots at this time. The "robots" had flashing lights on them and the band members would let them loose in the audience. Phil Cohran says that he is not on trumpet here, and that the imprecise attacks suggest Hudson]

Album jacket credits the alto solo to Allen, Tommy Hunter has said it wasn't, but my current leaning is toward Marshall. Cohran says the trumpet player doesn't know the trumpet part he had worked out with Gilmore and Allen on the head. He thinks it might be George Hudson, not Walter Strickland as credited by Saturn. [rlc; Tommy Hunter interviewed by Michael Shore]

Cohran says, "We made this at the end of the day. I didn't want to play it, but he ran it off on the piano." Thanks to Allan Chase for pointing out the presence of Nate Pryor.

Jacket credits Ra with playing electric piano, but there's none on the record. Phil Cohran says that a drummer named John (Gilmore says John, Fielder says Jonell) Hardy performed on some of the Chicago albums, but was left out of the credits; in fact, Jon Hardy is listed as the sole drummer for this album in the 1967 Saturn Handy Catalog B7S66Y. He is not mentioned on the late 1960s Saturn sleeve, which lists Robert Barry and Edward Skinner (however, the 1969 Saturn catalog reprints the personnel listing from 1967). Alvin Fielder confirms Hardy's presence in the band and says that Hardy and Cohran liked to work together. Fielder himself was in the band from Spring 1958 to January or February 1960 but did not work with Cohran. [Personnel from jacket, some sorting and corrections by rlc; Simosko, following Julian Vein, says 1958-1959]

Watusa (Ra) (2:33)
Ra-p; Bill Fielder-tp; Marshall Allen-as; John Gilmore-ts; Ronnie Boykins-b; Robert Barry-d, perc. Other percussion, including d, tambourine, bells, and gongs, probably by Jim Herndon, who may have gotten some help from Pat Patrick.

Randolph remembers playing this tune many times and never soloing. "Sun Ra was always talking about Ethiopia. Says that it was recorded on a gig with bad acoustics; "the mike was on the other end."

All from various clubs and rehearsal rooms, Chicago, 1958-1959.

[Personnel and soloists from album jacket; additional track-by-track breakdowns by rlc with help from Lucious Randolph, who supplied the date; Impulse says 1959]

James Spaulding began working with Ra in mid-1957. He left Chicago for "Naptown" (Indianapolis) in early 1960. [Interview in Cadence, Chase, plus conversation with L. Randolph] Drummer Alvin Fielder says he didn't work with Jim Herndon. However, Bill Fielder recalls him working with Herndon on occasion...

This album was originally titled Lady with the Golden Stockings, and is so listed in the 1967 Saturn catalog; it probably started with a blank cover and graduated to a generic Tonal View of Times Tomorrow. The issue date is unclear -- Cohran recalls being told that a piece with him on it was being issued in 1965, and the Saturn jacket says he is on the album. The new title and cover by Richard Pedreguera were in place for the 1969 Saturn catalog. On the retitled Saturn issue, The Lady with the Golden Stockings was retitled The Golden Lady.
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12. Sun Ra and his Myth Science Arkestra
Rocket Number Nine (retitled Interstellar Low Ways)
Saturn SR 9956-2-M/N (mid 60s)
Saturn LP 203
Evidence 22039 (CD, 1992)
Side A:
Onward (Ra) (3:30)
Ra-p; George Hudson-tp; Marshall Allen-as; John Gilmore-ts; Ronnie Boykins-b; Jon Hardy-d.

If Edward Skinner is actually present on this LP, it would be on this track.

This might be Hardy on drums but it's consistent with Cochran's mallet-on-tom-tom routine and there are no Hardy trademarks. Cohran doesn't recall working with Patrick at the time. It could be Ronald Wilson, who also played flute, or the piece could be from 1959.

Cohran recalls recording this piece, and says that the drummer is Jon Hardy. Probably made in rehearsal.

Various locations, Chicago, late 1960. [personnel from Saturn jacket; soloists from jacket, rest is rlc's guess].

Phil Cohran says late 1960 or perhaps January 1961, which is when he left the Arkestra. Hudson was being groomed to replace him at the time. The 1967 Saturn catalog lists Jon Hardy as the only percussionist. The later Saturn jacket has William Cochran and Edward Skinner, and credits Skinner for the drum solo on Rocket Number Nine (hence all the discographies, including mine up to now). According to John Gilmore, Edward Skinner was from Memphis and joined the band around the same time as George Hudson (who was also from Memphis). Ricky Murray suggests that Skinner and Hudson were cousins. That means that if Skinner realy appears on any released Saturn recordings from this period, they would almost certainly be ones with Hudson on trumpet. Skinner did appear on later recordings (starting in 1977) -- by then he had changed his name to Luqman Ali.

Originally issued as Rocket Number Nine with a Sun Ra monogram cover (complete with burning candle sticking out of the R); advertised as such in the 1967 Sun Ra catalog. New title and red on white cover were in place by the 1969 Saturn poster/catalog. [rlc; thanks to Trent for the 1969 catalog]
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13. Sun Ra and his Myth Science Arkestra
Fate in a Pleasant Mood
Saturn SR 9956-2/A/B (1965)
Saturn LP 202
Impulse AS 9270 (1974)
Evidence (CD, due fall 1993)

Side A:
The Others in their World (Ra)
Ra-p; Phil Cohran-tp; Marshall Allen-as; John Gilmore-ts; Ronnie Boykins-b; Jon Hardy-d.

Lucious Randolph says he's here playing "a lot of melodic things, a line he's trying to get." Cohran says he is on this and that it was made at Hall Recording Co., Chicago, late 1960.

Gilmore isn't credited with playing clarinet, but he obviously switches when Allen switches to flute. Lucios Randolph says he's on this, but so does Phil Cohran. Cohran believes this was made at Hall Recording Co, Chicago, late 1960. Title comes from original Saturn jacket; the label says Lights on a Satellite.

I'm assuming it's Hudson on this bop number (cf. Onward and Space Aura). Hudson uses a repeated-note stutter figure a lot. LR and Cohran think it's Hudson too. Recorded in rehearsal, Chicago, late 1960 or early 1961. Definitely not from the studio; recording is grainier. It is possible that Edward Skinner is on drums instead of Hardy, though there is no obvious departure from Hardy's style.

Lucious Randolph says he was using a cup mute during the ensembles, and that Ra kept telling him to play more softly. When the tape was played back, though, his part in the ensemble was barely audible. Rehearsal, Chicago, 1960. (Cohran says he is on this, but claims that it was made at Hall Recording Company, which is consistent with the well recorded drums -- but not with the poor balance overall.)

Cohran says this piece was written for him, and that he is on the recording, which was made at Hall. Cohran and Gilmore worked out their own approach to the bridge in practice. Hall Recording Company, Chicago, late 1960. Faith in a Pleasant Mood on the original Saturn jacket.

Cohran says he is on it. Hall Recording Company, Chicago, late 1960. Spelled "Ankhnation" on the original Saturn jacket.

Hall Recording Co. and rehearsals, Chicago late 1960-early 1961.

Personnel from the Impulse jacket and the 1967 Saturn catalog, with corrections. The original Saturn jacket (courtesy Julian Vein) lists Gilmore, Allen, Boykins, Phil Cohran and George Hudson as the trumpters, and "Eddy Skinner" as the drummer. No trombonist is mentioned, and it gives no track breakdowns. The Saturn catalog and the Impulse rerelease give Edward Skinner as the drummer. Cohran identifies Jon Hardy on Space Mates and the drumming elsewhere fits his description of Hardy's style. (Edward Skinner was around at the time, however). The Impulse reissue gives Lucious Randolph (instead of Phil Cohran) and George Hudson as thetrumpeters. Phil Cohran says Hudson was being groomed to replace him in late 1960 to early 1961. Randolph thinks dates are about right.

Cohran says Alton Abraham told him in 1965 that this album was coming out.
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14. Sun Ra and his Intergalactic Arkestra
Holiday for Soul Dance
Saturn ESR 508 (1970)
Evidence 22011 (CD, 1992)
Side A:
But Not for Me (Gershwin)
Day by Day (Cahn-Stordahl-Weston)
Holiday for Strings (Rose-Gallo)
Dorothy's Dance (Cohran)
Side B:
Early Autumn (Herman-Mercer-Burns)
I Loves You Porgy (Gershwin-Gershwin-Heyward)
Body and Soul (Green-Heyman-Sour-Eyton)
Keep Your Sunny Side Up (DeSylva-Brown)
Ra-p; Phil Cohran-cnt; Nate Pryor-tb (on Day by Day); Marshall Allen-as, fl; John Gilmore-ts; Ronnie Boykins-b; Jon Hardy-d; Ricky Murray-voc (on Early Autumn). Hall Recording Co., Chicago, late 1960, except Early Autumn, which was made at the Wonder Inn around the same time.

According to Cohran, Day by Day and Dorothy's Dance were made at Hall Recording Co., Chicago, during a marathon session that covered 30 to 40 tunes. Cohran says Pryor was the trombonist. Hardy is definite on the Hall Recording Co. tracks.... I am convinced that the drummer is Hardy throughout, and that everything except the vocal track is from Hall Recording. Nate Pryor does not remember the session, but he is definitely on tunes from Fate in a Pleasant Mood that were made there.... Ricky Murray does not remember the session, and suggests that Early Autumn (without Cohran) was made at the Wonder Inn (at 75th and Cottage Grove).

The Saturn jacket is way way way off, listing 14 (!) musicians, mostly from the late 60s, though oddly the solo credits are basically correct. Schonfield listed the album on his London 1970 concert program, but with an incorrect late 60s date. Personnel listing by rlc with help from Cohran (who says that Jon Hardy was the drummer, not Robert Barry). Michael Fitzgerald estimated 1959-1961 as the date; Cohran narrowed it to late 1960 or January 1961.

In late spring 1961, the Arkestra departed from Chicago for a fateful gig in Montreal. The lineup was: Walter Strickland-tp; Marshall Allen- as, fl, morrow; John Gilmore-ts, cl, bcl; Ra-p; Ronnie Boykins-b; Billy Mitchell-d; Ricky Murray-voc. Strickland did not go to New York with the group. [Gilmore, confirmed by Murray]

By the end of summer 1961, the core of the Arkestra (Ra, Allen, Gilmore, Boykins) had migrated to New York. According to Gilmore, Billy Mitchell stayed in New York only for two weeks and then returned to Chicago. Ricky Murray stayed long enough to make the Savoy session but returned to Chicago after 4 months, before the February 1962 concert. Patrick came from Chicago when Ra summoned him. The Arkestral remnant hooked up with Tommy Hunter, who had worked with Ra from 1949 to 1952 and now resided in New York. [rlc]
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15. Sun Ra and his Arkestra
The Futuristic Sounds of Sun Ra (retitled We are in the Future)
Savoy MG12169 (1961)
Savoy SJL 1141 (1984)
Savoy (Japanese CD, mono only, 1993)
Savoy (European CD, 1993)
Byg 529 111 (France lp, 197x)

The Concert Hall issue was titled Sun Ra. The Savoy reissue of 1984 was titled We Are in the Future. On the original label, Of Sounds and Something Else was misprinted as Wounds. Portions of this LP included in the second disk of Monkey MY 40014. Where Is Tomorrow? included in the BYG album History of Jazz Volume 9, along with other material by John Coltrane, Booker Ervin, Donald Byrd, etc. — all pirated from Savoy. Jet Flight appeared on the Franklin Mint Record Society's 4-LP collection of Greatest Jazz Recordings of All Time. The specific volume was called Contemporary Currents and also featured Ornette Coleman, Cecil Taylor, Albert Ayler, and the Art Ensemble of Chicago.

All recorded at the Choreographers' Workshop, 414 W. 51st St., New York, November or December 1961. [Personnel from jacket; track breakdowns courtesy of Julian Vein; date and location courtesy of Phil Schaap, location confirmed by Tommy Hunter; discographies have always said this is from Chicago]

A tape of these sessions was sold to Alan Bates of Black Lion/Freedom records (probably in 1970). It also included an incomplete, untitled piano and bass duet and an incomplete title featuring piano and percussion. [Vein]

Slushy recording, made by Tommy Hunter up on the 3rd or 4th floor of the Workshop. Gilmore says that the Arkestra started using the Workshop after the Savoy session, not before as has sometimes been assumed.

Violinist is often said to be Stuff Smith (it doesn't sound like him), but Richard Wilkinson says Michael White. Walter Miller is identified by stamp on jacket, Evans on label (as the soloist). Boykins and Jarvis identified on label. Date for Side A is simply given as "1960s."

The four musicians mentioned on some copies (Walter Miller stamped on jacket, Miller, Evans, Boykins and Jarvis on the label) make sense. Miller's wispy sound and the virtuoso drumming are giveaways. Mystery solved. New York, 1962. [rlc, with thanks to Jerry Gordon for label and cover copy, and to Mark Webber for a tape; Trent concurs]

Julian Vein believes that Sometimes I'm Happy through Sunnyside Up came from the same sessions as Side B of When Sun Comes Out. A tape of this material (minus State Street) was sold to Alan Bates of Black Lion/Freedom around 1970. It also included a version of But Not for Me, provenance unknown.

Wanderlust (Calvin Newborn)
Jukin' (Al Evans)
Same personnel and session, Allen also picc. New York 1962 [Trent and rlc]

Autumn in New York (Duke)
Ra-p; John Gilmore-ts; unknown-b, poss. Tommy Hunter-d. Different ambience, most likely also New York 1962.

Side B:
(Side A of The Invisible Shield) Seems to exist only in hybridized versions. [Webber]
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21. Sun Ra and his Myth Science Arkestra
When Sun Comes Out
Saturn LP 2066 (1963)
Saturn LP 402
Evidence (CD, due November 1993)
Side A:
Circe (Ra)
Theda Barbara-voc; Ra-perc; Tommy Hunter-gong; prob. Pat Patrick-bgo; another Arkestran-bells. Recorded by Tommy Hunter as part of a session at Choreographers' Workshop that ran an entire afternoon. New York, late 1962 or 1963.

An entire minute of gongs that opens the piece was edited out on the Saturn release. In the 1967 Saturn catalog, the title was misprinted as Circle and this error was propagated by Vuijsje and Raben.

Same location and period. Attributed to Roger Blank on the 1967 liner, but Blank told Val Wilmer that he joined Ra in 1964, and Gilmore considers his presence unlikely. The placement of the instruments on this track (which was recorded in stereo) is very similar to the placement on Dancing Shadows.

From the same period; prob. Choreographer's Workshop. Was found in 1993, recorded backwards on one stereo channel of the master tape. Named by John Gilmore. Minerva Colen was Tommy Hunter's girlfriend; he recalls she played cowbell on a piece made in 1962 or 1963.

Date from Vein; personnel based on Simosko, 1967 record jacket, comments by John Gilmore, and corrections by rlc. (Whew!)

According to Jacson, the album was released in 1963 (by the time he joined the band). The first issue had a blank cover and the old Saturn yellow label with black print (Gordon owns a copy). It is not known whether the album ever circulated with the ameboid cover shown in the 1967 Saturn catalog. In 1967, the album was reissued (still numbered LP 2066) with a photo of Ra on the front plus liner notes by Tam Fiofori and personnel credits. This was a red-label Saturn. The 1967 personnel list is demonstrably wrong in several places: it includes Robert Cummings on bass clarinet and omits the trombonists. Ra is said to be playing clavioline and piano. The liner credits Gilmore with percussion on Calling Planet Earth (he did sometimes play drums during this period, usually with Lex Humphries) and Patrick with percussion (he played bongos; trap drums only rarely) on We Travel the Spaceways. Jarvis is credited only on Dancing Shadows, The Nile, and Brazilian Sun. Roger Blank is supposed to be on percussion on The Rainmaker (Gilmore is skeptical about his being in the band then) and Lex Humphries on When Sun Comes Out (which Gilmore finds more credible.)

The master tape of Side B is in stereo; all known pressings of the album are in mono, however. The master tape also includes a rejected take of an unidentified piece at the beginning. In addition, three pieces were recorded backwards (!) on the master used by Evidence: besides Dimensions in Time, there is a brief fragment with Allen's oboe, prob. Jarvis's drums, and percussion; the third item, Shadow World Take First, seems to date from a later period. This last was not included in the Evidence issue because of poor sound quality.

John Gilmore identified the alto soloist as "Harry from Detroit," who was with the Arkestra only a few months. Presumably this is Harry Spencer, who was with the Arkestra in 1965. Title is announced by Ronnie Boykins. Rehearsal, New York, 1965. [rlc]

There is a cover to Saturn LP 5789 labeled When Sun Comes Out Vol. 3: Sun Ra Arkestra Leaves Planet Earth. This is a variant of the generic Tonal View of Times Tomorrow. It is not clear whether it was ever used. [Gordon]

Ah, there's more to this story. According to a Saturn press release (from 1963 or 1964) given to John Corbett by Alton Abraham, only Supersonic Jazz and Jazz in Silhouette had catalog numbers at the time. But a number of forthcoming LP releases were mentioned. Planet Earth and Cosmic Tones for Mental Therapy sound familiar. So, probably is When Sun Comes Out Vol. 1 (but it's said to feature Ra on organ!). Music from Tomorrow's World is most likely Angels and Demons at Play. The rest are the famous mystery titles mentioned by Geerken and Stahl as "uncertain LPs": Flights over Jupiter, Rocket to Outer Space, and Neptunal Horizons (said to feature Marshall Allen "on a new instrument imported from Neptune"). There are also When Sun Comes Out Vol. 2 (featuring Phil Cohran!) and When Sun Comes Out Vol. 3! Most likely some of these titles referred to albums that never materialized; others may have eventually appeared under familiar titles. It is interesting that quite a few Chicago recordings are not mentioned on this list.... [rlc]
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22. Sun Ra and his Myth Science Arkestra
When Angels Speak of Love
Saturn LP 1966 (c. 1966)
Saturn LP 405
Side A:
Celestial Fantasy (Ra)
The Idea of It All (Ra)
Ecstasy of Being (Ra)

[Personnel from Buzelin, corrected by rlc; date from Vein; according to Rhodes, Danny Davis said this was made in a basement studio in Crown Heights, Brooklyn -- the same studio used in Nov. 1965 for a Sunny Murray album on Jihad; if Tommy Hunter is correct, however -- and there's lots of reverb -- these were made at the Choreographers' Workshop]

Side B was reissued in edited form on Out There a Minute, the Blast First collection. [rlc; thanks to Mark Webber for a tape!] Trent points out that the tape used by Blast First was in stereo, yet all known copies of the album are in mono.

Advertised in the 1967 Saturn catalog with an another abstract cover. It is not known whether that cover was actually used. All known copies have a streak cover -- red Sun Ra image pulled sideways in a copier over a white background. All of these have the mid-60s silver on red Saturn label. These have only Saturn 1966 on the label (no mention of 405). [Trent, Corbett] According to Chase, Abraham pressed Saturn LPs in batches of 75. How many batches of this one were ever done?
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23. Sun Ra and his Myth Science Arkestra
Cosmic Tones for Mental Therapy
Saturn LP 408 (c. 1967)
Thoth Intergalactic (later Saturn) KH 2772
Evidence 22036 (CD, 1992)

I used to think there was no brass instrument here, despite the French-horn-like woof near the end. But careful listening to the Evidence reissue with its improved sound convinces me that some of the barks and snarls in the coda canUt be coming from either bass clarinet.... It must be that old tone scientist, Bernard Pettaway.

Moon Dance was recorded at a joint in Brooklyn called the Tip Top Club, where Hunter was playing in Sarah McLawler's organ trio. Sun Ra and company came in at 10 AM and played for several hours. [Tommy Hunter] I suspect that Adventure-Equation and Voice of Space were also recorded at the Tip Top. Ra is not known to have had access to a Hammond organ elsewhere, and although the recording quality is a little better on these pieces, the tapes are still mono, Hunter may have moved his microphones around, and the echo would cover up some of the faults anyway. Note the background talking on Moon Dance and how it carries over into the beginning of Voice of Space. Note whispers at beginning of Adventure- Equation. Note the phone ringing around 4:00 and 7:50 into Adventure-Equation. [rlc]

[Personnel from jacket with some corrections by rlc; date from Vein, confirmed by Jacson, who says the two sessions were done less than a year apart]

Appears in the 1967 Saturn catalog with no track or personnel information -- was it just coming out then? Original cover was a Sun Ra doodle, replaced by the time of the 1969 catalog by Richard Pedreguera's better known illustration. The back liner was present by that time also. [rlc; thanks to Trent for the 1969 catalog]
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24. Sun Ra and his Solar Arkestra
Other Planes of There
Saturn KH 98766 (by 1966)
Thoth Intergalactic KH 98766
Saturn LP 206 (before 1967)
Evidence 22037 (CD, 1992)
Side A:
Other Planes of There (Ra)

Spiral Galaxy is from a different session than the other three tracks. Probably recorded by Tommy Hunter -- he left for Europe in May 1964. [Personnel from Simosko and Buzelin; date from Vein]
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25. Sun Ra and his Astro Infinity Orchestra
Strange Strings
Thoth Intergalactic KH 5472
Saturn LP 502 (1967)

(According to Tam Fiofori in a Melody Maker article, the strings include "Chinese lutes, moon-guitars, mandolin, bass, koto"). New York, probably 1966. Raben, Buzelin and Geerken put it in 1964, but see below. Better recording like that of Other Planes of There [Personnel and date from Buzelin; Raben wrongly gives Strings Strange as the title for the first part of Strange Strings and must not have seen the label; Trent, following Schonfield's album list in the 1970 London souvenir program, says 1966. John Gilmore recalls making the string piece after the third ESP album, which would place it in 1966. Label copy courtesy of Jerry Gordon; thanks to Mark Webber for a complete tape]

Mentioned by Tam Fiofori in Jazz and Pop, January 1968. One Thlan Aldridge is listed on the jacket as providing strings and space voice, but Art Jenkins is credited on the label. Geerken and Stahl (and previous versions of this discog) have listed Aldridge and Jenkins as though they were both present. But Victor Schonfield points out that Jenkins is not credited on the original album jacket, and Fitzgerald notes that the Carnegie Hall program for 4/12-13/68 includes as a vocalist "Art Jenkins (=Thlan Aldridge)". In "Sun Ra en de Verwarring" from Jazz Wereld, Aug. 1968, Jenkins is shown playing percussion at Slug's and the caption says that he is also known at Thlan Aldridge (similarly in a photo from Washington DC in the Oct. 68 issue). [rlc]

The 1967 Saturn catalog lists 202-208 and 402-409. So all 500 series items must postdate it. John Szwed bought a copy of Saturn 502 at a concert in 1967 or 1968, and Vuijsje refers to it as brand-new. The familiar cover and back liner are prominently displayed in the 1969 Saturn catalog; no other 500 series LPs are shown. [rlc]

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Well, I dig Music of almost all variants, I love tramping/hiking in the Bush/Mountains. I enjoy reading, movies and growing my vege garden. I muck around on my computer a lot and I also follow sports a bit, especially Rugby and Cricket.